Real World Or Mythical World?

This thesis attempts to analyze Tom Jones from an archetypal perspective, with specificemphasis on characters, plot and theme, and mythoi, though Tom Jones has long beenregarded as a realistic novel.The thesis is composed of seven parts. The first part is introduction. In it, the authorgives the reasons why this novel becomes the subject of research and why archetypalanalysis is chosen as a method to understand the novel. A simple literature review is given onthe distinctive aspects of the novel: realism and its narrative form. As a unique way ofcriticism, archetypal theory has been an attractive way for scholars to analyze differentliterary works, so the author attempts to study this novel from this perspective.The first chapter deals with the realistic aspects of the novel and the models taken fromreal life in describing characters. For realistic characteristics, the author puts emphasis onreal political events, real social attitudes and human nature reflected in the novel. Specificattention is given to the main characters, because they have models in real life. Tom Jones ismodeled on Henry Fielding himself. Mr. Allworthy is modeled on the two benefactors whohave been of great help to Fielding while he is in great difficulties. Sophia is modeled onFielding's first wife Charlotte whom he loves dearly.The second chapter briefly introduces the archetypal criticism, including its origin andthe representative theorist Northrop Frye.The next three chapters are the archetypal criticism of the novel. The third chapter dealswith archetypes in characters. Tom Jones, the hero, parallels with the foundling prince, theprodigal son, Adam and the good Samaritan. Mr. Allworthy plays the role of God, since he is endowed with both status and power. Master Blifil is associated with Satan, the snake in theGarden of Eden. Sophia, as the name suggests, means "wisdom" in Latin. She shares thesimilarity with Athena, Goddess of Wisdom. Besides, the narrator can be compared with theomniscient God, because Fielding calls the novel his world, turning the book into a metaphorfor the universe himself.In the fourth chapter, the author centers on the archetypes of plot and theme. Firstly, itfollows the form of picaresque novel; then, the adventure of Tom Jones on the road and inLondon parallels with the adventure of Odysseus on his way back from the Trojan War.Thirdly, the banishment of Tom Jones out of the Allworthy's family and the runaway ofSophia from the Western family are similar to the banishment of Adams and Eve out of theGarden of Eden.The fifth chapter deals with mythoi. Frye divides novels into four mythoi: comedy, themythos of spring; romance, the mythos of summer; tragedy, the mythos of autumn; irony, themythos of winter. Torn Jones can be put in the category of comedy, the mythos of spring. Theauthor proves it from three aspects: plot, character and phase. The plot of the novel followsthe traditional plot of comedy: "a young man wants a young woman, then his desire isresisted by some opposition, usually paternal, and then near the end of the play some twist inthe plot enables the hero to have his will." (Frye, Anatomy of Criticism, 163) In a comedy,four types of characters are typical: Eiron, Alazon, Bomolochoi and Agroikos. The authorunderstands Tom as an eiron; Mr. Allworthy as an alazon; Mr. Western and Partridge asagroikos. As for phase, Tom Jones belongs to the first phase, close to irony.In conclusion, the novel not only reflects real life and real man, but also is rich in mythical archetypes. By archetypal analysis, the author attempts to add flesh lights to theappreciation of the novel. Different from classical myths, Tom Jones can be seen as a modemmyth. Classical myths highlight the heroic characters and heroic deeds, while Tom Jonesfocuses on the ordinary people and ordinary life. Therefore, through this novel, Fielding isshowing his sentiments on good and evil natures of the human being. The novel serves as anirony of the modem society.